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I became part of this German wave of new painting and sculpture [ w:Neo-expressionism ], even though I didn’t fit in. Baselitz and the other young Ge… - Per Kirkeby
" "I became part of this German wave of new painting and sculpture [ w:Neo-expressionism ], even though I didn’t fit in. Baselitz and the other young German artists, their paintings were demonstrative figuration, while my work was more lyrical and Cubist, based on still life. None of the curators of the exhibitions at the time knew what to do with it. I could see that they almost wished I’d just withdraw. But it’s an outsider position with which I’ve been really comfortable. I was able to extend myself within my own thing, which wasn’t very successful internationally. My work was not punchy enough. I succeeded in constantly evading branding. My history with Fluxus is actually quite funny. I went to New York in 1966 as a relatively young man, wanting to meet all these artists. Denmark was extremely small and stuffy. In high school I had discovered something called Jackson Pollock, and I was furious that no one had told me about this before.. .I was calling around, saying, 'Hello, I’m a Danish artist. I would like to meet you.'
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About Per Kirkeby
(born 1 September 1938, in Copenhagen) is a Danish painter, poet, film maker and sculptor. Kirkeby’s interest in geology and nature in general plays a crucial role in his art.
Also Known As
Alternative Names:
Per Kirkeby Christensen
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Additional quotes by Per Kirkeby
What I am after is 'bravura, an attempt to do something beyond the truth'.. .I do not seek truth before bravura, I seek it on the other side. Naturally it is a basic risk to run, the internal insecurity, where nothing is measurable, no solid standard exists any longer, and one can hardly discern the difference between commercial bravura and true trapdoor, but it is the only way of escaping good taste and narrow certification. The light of ambivalence is a heavenly one.
..I also got to meet w:George Maciunas, the father of Fluxus. I wanted to know what this Fluxus was, so I asked him, 'If I put salt in a tea bag and then into hot water, then the salt will dissolve, and when you pull the bag up, there is nothing in it. Is that Fluxus?' 'Let’s make that one right away,' Maciunas replied. And it became a Fluxus object. I told him that I was a painter and that I would keep painting. 'Well,' he said, 'that doesn’t matter, as long as you do it the right way.' Getting to know him, I understood that the right way was with a certain sense of justice.
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Thus it is with all pictures, there are many layers, and with good reason an analysis nearly always deals with the last [layer]. The last layer in a superficial sense. But how then can one talk of what one cannot see, the overpainted or wiped-off layers, how to go about for example, photographs that are like slates with layers which no longer exist. The answer is that they exists nevertheless, taken up into the visible layer by a rubbing-off, but the problem, on the whole, is how one deals with the visible layer. The angle-sure, viewpoint seeking and in the worse sense 'analytic' intercourse with the picture.
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